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Αποσπάσματα από το «Η αγαπημένη και άλλα διηγήματα»

Σελίδες από το «Η αγαπημένη και άλλα διηγήματα» που στέκονται μόνες τους, διαλεγμένες για το πώς διαβάζονται σήμερα. Το κείμενο ανήκει στο κοινό κτήμα.

Τι στερεί η φτώχεια από τον άνθρωπο πέρα από την άνεση.

"What matters is not that Anna died in childbirth, but that all these Annas, Mavras, Pelageas, toil from early morning till dark, fall ill from working beyond their strength, all their lives tremble for their sick and hungry children, all their lives are being doctored, and in dread of death and disease, fade and grow old early, and die in filth and stench. Their children begin the same story over again as soon as they grow up, and so it goes on for hundreds of years and milliards of men live worse than beasts— in continual terror, for a mere crust of bread. The whole horror of their position lies in their never having time to think of their souls, of their image and semblance.
— Η αγαπημένη και άλλα διηγήματα, Anton Chekhov (1899)

Τι μπορεί να απομείνει στη μνήμη από επτά χρόνια γάμου.

Of the time when he fell in love and proposed to her, and the seven years that he had been living with her, all that remained in his memory was her long, fragrant hair, a mass of soft lace, and her little feet, which certainly were very small, beautiful feet; and even now it seemed as though he still had from those old embraces the feeling of lace and silk upon his hands and face—and nothing more. Nothing more—that is, not counting hysterics, shrieks, reproaches, threats, and lies—brazen, treacherous lies. He remembered how in his father’s house in the village a bird would sometimes chance to fly in from the open air into the house and would struggle desperately against the window-panes and upset things; so this woman from a class utterly alien to him had flown into his life and made complete havoc of it.
— Η αγαπημένη και άλλα διηγήματα, Anton Chekhov (1899)

Πώς ένας τόπος κρατά αναμμένο ένα φως για σένα πολύ μετά την αναχώρησή σου.

I am beginning to forget the old house, and only sometimes when I am painting or reading I suddenly, apropos of nothing, remember the green light in the window, the sound of my footsteps as I walked home through the fields in the night, with my heart full of love, rubbing my hands in the cold. And still more rarely, at moments when I am sad and depressed by loneliness, I have dim memories, and little by little I begin to feel that she is thinking of me, too —that she is waiting for me, and that we shall meet. . . .
— Η αγαπημένη και άλλα διηγήματα, Anton Chekhov (1899)

Πόσο κοστίζει ν’ αγαπάς κάποιον χωρίς καμία επιφύλαξη.

Ah, how she loved him! Of her former attachments not one had been so deep; never had her soul surrendered to any feeling so spontaneously, so disinterestedly, and so joyously as now that her maternal instincts were aroused. For this little boy with the dimple in his cheek and the big school cap, she would have given her whole life, she would have given it with joy and tears of tenderness. Why? Who can tell why?
— Η αγαπημένη και άλλα διηγήματα, Anton Chekhov (1899)

Ο ψεύτης που λέει ψέματα όπως κελαηδάει το πουλί.

She was continually deceitful every minute, apparently apart from any necessity, as it were by instinct, by an impulse such as makes the sparrow chirrup and the cockroach waggle its antennæ. She was deceitful with me, with the footman, with the porter, with the tradesmen in the shops, with her acquaintances; not one conversation, not one meeting, took place without affectation and pretence. A man had only to come into our room—whoever it might be, a waiter, or a baron—for her eyes, her expression, her voice to change, even the contour of her figure was transformed. At the very first glance at her then, you would have said there were no more wealthy and fashionable people in Italy than we. She never met an artist or a musician without telling him all sorts of lies about his remarkable talent.
— Η αγαπημένη και άλλα διηγήματα, Anton Chekhov (1899)

Ένα πρόσωπο που δεν θέλει πια τίποτα

The men expected the nun to refuse—saints don’t dash about in three-horse sledges; but to their surprise, she consented and got into the sledge. And while the horses were galloping to the city gate all were silent, and only tried to make her warm and comfortable, and each of them was thinking of what she had been in the past and what she was now. Her face was now passionless, inexpressive, cold, pale, and transparent, as though there were water, not blood, in her veins. And two or three years ago she had been plump and rosy, talking about her suitors and laughing at every trifle.
— Η αγαπημένη και άλλα διηγήματα, Anton Chekhov (1899)

Όσα λέει ένα δωμάτιο για το ποιος μπορεί να ξεκουραστεί μέσα του.

In the window, covered by patterns of frost, sat on a stool the girl who shared his room—Anyuta, a thin little brunette of five-and-twenty, very pale with mild grey eyes. Sitting with bent back she was busy embroidering with red thread the collar of a man’s shirt. She was working against time. . . . The clock in the passage struck two drowsily, yet the little room had not been put to rights for the morning. Crumpled bed-clothes, pillows thrown about, books, clothes, a big filthy slop-pail filled with soap-suds in which cigarette ends were swimming, and the litter on the floor—all seemed as though purposely jumbled together in one confusion. . . .
— Η αγαπημένη και άλλα διηγήματα, Anton Chekhov (1899)

Η ιδιαίτερη εξάντληση του να σου μιλά ένας άνθρωπος σίγουρος για όλα.

Byelokurov, drawling out “Er—er,” began a long-winded disquisition on the malady of the age—pessimism. He talked confidently, in a tone that suggested that I was opposing him. Hundreds of miles of desolate, monotonous, burnt-up steppe cannot induce such deep depression as one man when he sits and talks, and one does not know when he will go.
— Η αγαπημένη και άλλα διηγήματα, Anton Chekhov (1899)

Πώς φαίνεται ο επίγειος παράδεισος από έναν δρόμο που βρωμάει.

Have you ever been at Abbazzia? It’s a filthy little Slav town with only one street, which stinks, and in which one can’t walk after rain without goloshes. I had read so much and always with such intense feeling about this earthly paradise that when afterwards, holding up my trousers, I cautiously crossed the narrow street, and in my ennui bought some hard pears from an old peasant woman who, recognising me as a Russian, said: “Tcheeteery” for “tchetyry” (four)—“davadtsat” for “dvadtsat” (twenty), and when I wondered in perplexity where to go and what to do here, and when I inevitably met Russians as disappointed as I was, I began to feel vexed and ashamed. There is a calm bay there full of steamers and boats with coloured sails.
— Η αγαπημένη και άλλα διηγήματα, Anton Chekhov (1899)

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